[39] See, for example, A. Gerard’s Essay on Genius (1774), passim.
[40] The English translation of this part of the Critique of Judgment, edited by J. C. Meredith, is useful for its numerous illustrative passages from these theorists (Young, Gerard, Duff, etc.).
[41] Mrs. Katharine Fullerton Gerould has dealt interestingly with this point in an article in the Unpopular Review (October, 1914) entitled Tabu and Temperament.
[42] See Biographia literaria, ch. XXII.
[43] This message came to him in any case straight from German romanticism. See Walzel, Deutsche Romantik, 22, 151.
[44] “De tous les corps et esprits, on n’en saurait tirer un mouvement de vraie charité; cela est impossible, et d’un autre ordre, surnaturel.” Penseés, Article XVII. “Charité,” one should recollect, here has its traditional meaning—the love, not of man, but of God.
[45] See poem, Ce siècle avait deux ans in the Feuilles d’Automne.
[46] For amusing details, see L. Maigron, Le Romantisme et la mode (1911), ch. V.
[47] For Disraeli see Wilfrid Ward, Men and Matters, 54 ff. Of Bulwer-Lytton at Nice about 1850 Princess von Racowitza writes as follows in her Autobiography (p. 46): “His fame was at its zenith. He seemed to me antediluvian, with his long dyed curls and his old-fashioned dress … with long coats reaching to the ankles, knee-breeches, and long colored waistcoats. Also, he appeared always with a young lady who adored him, and who was followed by a man servant carrying a harp. She sat at his feet and appeared as he did in the costume of 1830, with long flowing curls called Anglaises. … In society, however, people ran after him tremendously, and spoilt him in every possible way. He read aloud from his own works, and, in especially poetic passages, his ‘Alice’ accompanied him with arpeggios on the harp.”
[48] See essay by Kenyon Cox on The Illusion of Progress, in his Artist and Public.